You find California has more of an aesthetic than people give it credit for.
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You lived in a Quonset hut in Highland Park when you were a child. You've loved arches ever since -- your first design aesthetic.
No question about it. Arches add a soft aspect with the drama of the high ceilings. It's very cozy. On the other hand the Mission style is more severe, and it's darker, but still very attractive because it's all wood. Spanish is all stucco. Texturally it's just fabulous. The Cliff May ranch houses -- Cliff May himself started out in San Diego making little Spanish homes with arches and courtyards and then it evolved into the ranch style, but he always kept that brick that had a lot of texture that made it warm and inviting to me.
The only question I'll ask about "Annie Hall" is whether you're tired of people asking about "Annie Hall"?
No, I'm not. Everything is because of "Annie Hall" with Woody. He has a great ear for women's voices. I'm so grateful to him; he really gave me an opportunity that changed my life. I'm never disappointed about people talking to me about "Annie Hall." But I will say, a lot of people don't know "Annie Hall" exists, and that's just the way it goes -- goodbye! It's bittersweet.
Your book draws parallels among the generations of women in your family at the same ages.
My mother left that [record] for me. I have letters, journals, her adages, the quotes she wrote down. You put it all together. So the book was just an editing job and my response to her. Here I am, [at, say,] 63. What was [her] 63 and what is my 63? It's what [acting coach Sandy] Meisner used to say about acting: Live truthfully in the given imaginary circumstance.
Grammy Hall was quite a character; Grammy Keaton was devoutly religious, and I don't think that helped my mother with her self-esteem. My mother had real dreams of somehow being an artist, but it didn't quite happen for her because she lived in a very strict religious atmosphere -- no dancing, no lipstick.
Yet she created art and loved design, and kept the journals your book is based on.
It's a treasure trove, but it also fills me with regret. What's so great about being an actor is that you have permission to have all these feelings with people because you're telling a story and it's not your own; but when it's your story -- . It was hard for me to kiss her and tell her how much I loved her and appreciated her. This is the regret that I feel about my mother and the fact that I didn't read those journals before she passed away.
You write a lot about aging. You describe meeting the "fabulous" Audrey Hepburn at the Oscars. She was only 48, and all you could think about was the aging process. Your mother once said, "Don't grow old, Diane." And you've done those L'Oreal ads: "We're still worth it.''
As you get older, it's hard to remember you are worth it. It was never easy for me to think of myself as "worth it," so you've got to keep working at it. It's more difficult as you get older, and especially if you're a public person. The example of Audrey Hepburn -- it's hard to let go of that, when you've been looked at for half your life, [when] people are astonished by your beauty. It's hard to come to terms with being not as beautiful.
I didn't allow her to age gracefully; I just remembered her as my fantasy. Then you see your fantasy and, oh my God, she's a real person. That'll never do!
You assess beautiful versus pretty too.
Beauty seems to be something that is open to change. And pretty seems to be unimaginative and locked into an idea. Beauty is an experience, not trying to hold onto something that can't be held onto.
Everybody asks me, now I can ask you -- about your hats.
I discovered them early at the Goodwill because my mother and I were aficionados of all thrift stores. [One] was a kind of bowleresque hat.